• 한국사회복지학
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• 제64권3호
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• pp.231-255
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• 2012

이 연구는 "초기 한국 사회복지학은 어떤 영향을 받아 무슨 내용으로 형성되었는가?"라는 연구주제를 역사주의(historicism) 관점에서 파악하여 한국 사회복지학의 출발점을 살피는 데 목적이 있다. 1세대 연구자가 저술한 개론서 세권을 기본 자료 삼아, 1) 원본의 역사적 개요, 2) 연구자의 개인사적 성향, 3) 주요 용어의 역사적 적용, 4) 사회복지학 내용의 역사적 맥락과 같은 틀을 만들어 분석하였다. 연구결과를 토대로 한국 사회복지학 형성과 관련하여, 1) 개론서 내용을 만회하기 위해 생존하고 있는 1세대 연구자로부터의 자료수집, 2) 기독교의 영향에 관한 연구, 3) 외국 원조 기관의 영향에 관한 연구, 4) 미국과 일본 사회복지학의 영향에 관한 연구, 5) 초기 이후 어떻게 변화했는지를 규명하는 연구 들이 필요함을 제언하였다. 아울러 각 저술과 연구자 개인사에 관한 연구를 더욱 상세하고 충실히 진행하지 못한 점을 이 연구의 한계로 꼽았다.

• 한국실내디자인학회논문집
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• 제19권3호
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• pp.103-110
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• 2010

As ongoing construction of a new municipal government building leads to the destruction of the interior of the Kyungsung Municipal Government Building(currentlySeoul Metropolitan City Hall) despite its enormous historic value, this study aims to identify the unique features of spatial composition and interior design of the Kyungsung Municipal Government Building, which is widely known as a typical example of public architecture of the 1920s. The primary goal is to perform a systemic arrangement of its interior data and define the modern historic implications of its interior design, thereby laying the foundation for a compilation of the history of modern interior design. From a historical perspective, the Kyungsung Municipal Government Building-an explicit symbol of Japanese colonial supremacy-has served as the administrative hub of a hugecity for 19 years during the Japanese colonial rule and for 64 years following Korea's independence from Japan. From the perspective of architectural history, it also represents modern transitional buildingsin their shift from historicism into modernism, as manifested by its reasonable placement of interior space matching well with topographical form, easy access by citizens, open office space, and, excluding decoration, a simple and non-authoritarian exterior. Its interior design style follows Western historicist architecture, whereasits simple interior decoration embodies expressive characteristics of pragmatic simplicity. Such elements are notably found in the Grand Central Hall, the Municipal Head's Reception Room, and the Grand Conference Room.

• 영어영문학
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• 제60권2호
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• pp.339-363
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• 2014

This essay reconsiders the subject of Romantic self-consciousness in a post-de Manian perspective. Self-consciousness is an attribute of Romantic lyricism whereby the poetic speaker I remains conscious of how (s)he feels or lives here and now. This self-reflective feature of Romantic poetry has been controversially interpreted either as self-centered solipsism or as self-expressive objectivism. The question is stirring more disputes among Romantic critics after the advent of New Historicism and Feminism. These two historicistic approaches reprove Romantic poetry for a lack of the sense of history and ascribes it to Romantic self-consciousness. They argue that Romantic poets in general displace historical materiality into an object of internal consciousness, so negating absurd social realities "merely to gain their own immortal soul." This essay targets to overcome this negative stance on Romantic self-consciousness with a "subversive" return to Paul de Man's criticism of Romantic internality.

• 복식문화연구
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• 제14권4호
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• pp.657-669
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• 2006

This study is to investigate the previous cases of plural eclecticism through the works of Vivienne Westwood, who contributed to the spread of innovative and eclectic English fashion out to the world as well as to review plurality and its phenomena since the 20th century more systematically. In terms of research methodology, the phenomena of plural eclecticism were examined from social and cultural perspectives, whereas bibliographic research and case study were performed for the phenomena of eclecticism in fashion. From the perspective of plural eclecticism, the results from analyzing the works of Vivienne Westwood by the divisions of temporal eclecticism, spatial eclecticism, and contingent eclecticism are described in the following. First, Vivienne Westwood emphasized historicism tendency of temporal eclecticism. Her efforts to try to modernize history went beyond ages and social classes including men's clothing, prostitutes' costumes, craft items, and dresses for royal family. Second, her spatial eclecticism was reflected on the first collection themes inspired by the American Indians or borrowed from the names of Voodoo in the Tropics. Finally, infra-fashion as an expression of contingent eclecticism of Vivienne Westwood's works can be interpreted as plural eclecticism which shows contingent eclecticism and historic eclecticism at the same time. This study aimed at proving preceding implications concerning recent plural eclecticism through the analysis of the works of Vivienne Westwood who tried a radical design of plural eclecticism in an effort to modernize the tradition of England in the circumstances where a number of trends and styles exist together, with their own uniqueness and values.